Week 1 Pt 1
The following will be a discussion of Design, specifically theatre design. I have previous experience on the theatre but not so much creating the theatre, or presenting the theatre. My previous experiences with theatre (and almost anything artistic I have ever done, theoretical or practical - but ill get to that later) has however, led me to be aware of some of the concepts which surge went over in our lecture. That is not to say it wasn't extremely informative in many other regards. One such concept was design which is AFFECTIVE; I previously have a fair bit of experience with EFFECTIVE design and in-effective design. Now please, anyone, correct me if they believe me to be wrong, but my understanding of affective theatre,is that it is of an individual existence to the action on the theatre; it can be used for different and numerable things, whilst still being connected to a [[#|play]]. Even more important is to remember is that as human beings we have the right to ascribe emotion or apathy to things we do and do not like, using absurd theatre design could inspire meaning in some, but to some it will have no meaning, we would also have to regard its actions as meaningless if it was a part of the design.. it has a parallel existence along side the action...and can [[#|travel]] with it without breaking into it or destroying the action...bit like people improvising with music it has meaning...in fact it is full of meaning...but outside our normal sense of logic (generally) without the [[#|play]]; but that it can interact with an audience prior to the play beginning, and still speak in volumes. Affective set design can be representational or expressionistic or down right absurd, and yet it can still hold meaning (even if it is to have no meaning by our own opinions of the piece). .
Now the formation of affective design will always inspire notions of artistic merit in someone, if done appropriately. And I was thinking about Serge's 'plaugerising' spiel, and a quote my friend and I were discussing from Michel Foucault.
“The imaginary is not formed in opposition to reality as its denial or compensation; it grows among signs, from book to book, in the interstice of repetitions and commentaries; it is born and takes shape in the interval between books. It is the phenomena of [[#|the library]].” ― Michel Foucault Excellent...it's part of a vast ancestral reservoir from which we can all draw creativity...
Aesthetics, Method, and Epistemology (1998) Michel Foucault
Essentially, this is the old school, originality is dead argument, regarding the creativity of human beings as limited as their experiences (simulated or otherwise). We can even relate the two biggest character archetypes of modern times (the detective, the cowboy) to be based on the stories of hero's which fought 1 against the odds. Such occasions are easy to recollect from non fictional events.
I feel I may be drifting off topic however, more to the point, Serge mentioned that good design takes a long time to form, as the best design has effort and creative forms which only truly crystallise over time. Great observation!! If we relate this to the ideas of Foucault, we would then see that these formations of 'art' will transform and evolve in the time the process takes, by using concepts and ideas from our experiences, and using those concepts to reflect upon the play, forming metaphors, symbols and what not. These formations are then understood by the audience members based on their experiences, and messages can transform, move or of course fall flat of their intended meanings. Long story short: it would seem we all plaugerise, constantly and subconsciously. Not from everything life throws at us, but education, culture and everything in between.
Anyway, I hope i don't fail now, I fear if I am correct, I may have broken the university. This train of thought came crashing along when Serge ( or so I believe) was quoted to say something like original design takes a long time to make, we can still make some great design, and sure it may take a while, but damned if its completely original, nor are we solely capable of forming an original design without understanding design as a whole, and how it reaches its intended audience, and most of all; how we know it will reach our audience and what it will do.
A new modernity is emerging - reconfigured to an age of globalisation: an altermodern culture
Increased communication, travel and migration are affecting the way we live
Our daily lives consist of journeys in a chaotic and teeming universe
Multiculturalism and identity are being overtaken by creolisation: Artists are now starting from a globalised state of culture. [A creole language, or simply a creole, is a stable language that originated from a mixture of various languages.]
This new universalism is based on translations, subtitling and dubbing
Today's art explores the bonds that text and image, time and space, weave between themselves
Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication ...semionaughts!!!
Ideas liberated from the ALTERMODERN MANIFESTO - Nicholas Bourriaud
Week 1 Part 2.
It seems I should most definitely reflect on a previous statement of mine. One in which I made claim that absurd design carries meaning because it does not carry meaning. However it is difficult to imagine anything not carrying meaning, I believe that absurdist theatre and likewise the theatre of cruelty interact with the world under the guise of meaningless. Now that is to say that to someone who lived in a cave, on an island, in isolation and without any form of communication, language or civilisation (or if you like, in Plato's cave) could be set in Plato's cave would most likely glance meaninglessness off quite simply as just such a phenomenon. However, Language, civilisation, the communications and experiences which follow are (debatable) the major facets which form the way our perceptions manage our experience. Now both the idea of absurdity ( a common facet of both the theatre of cruelty and the theatre of the absurd) and the idea of absurd design poses an interesting contradiction. If we are to entertain the idea of absurdity to be meaninglessness then our practice of observing or even worshipping the ideas maintained seems well.. absurd. Artonin Artaud once wrote that "As far as I was concerned, the problem was not to find out what might manage to worm its way into the scriptures of the written language, but into the web of my living soul". Being quite a prominent figure in the development of the theatre of cruelty, it is likely for us to accurately perceive his opinions of his work, to vastly categorise an important facet of this discussion ( later to be maintained by Mr Derrida) Artaud speaks of how the work he is forming is a representation of his soul, something quite intangible and relatively difficult to perceive/conceive. If we see the major defining factors which formed Mr Artaud's soul reflected in viewers of his works, there is essentially something which is seemingly meaningless to one which has not shared facets of their journey with the author of the 'absurd' piece. But for those which share or shared similar experiences with the create of a piece, something quite amazing and unique to humans occurs, they find meaning. The audience creates beauty, becomes sad, experiences what the artist intends them to experience. It is in this manor our affective theatre must be formed, in a way which will interact with the audience in ways which we imagine they will understand the design. It is here those which are perceptive and knowledgeable will flourish and the ignorant or isolated will fail. It is the condition of being a part of a community with shared experiences, it is the 'library' we all share as being humans which feel enables us access to.
It is the looming Black, The peaceful cloud blue, it is the abrupt, passionate, violent red.
-- Derrida's deconstruction goes here---
Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty
Helga Finter and Matthew GriffinTDR (1988-)
Vol. 41, No. 4 (Winter, 1997), pp. 15-40
Published by : the MIT press A brief splurge on my creative intent for the emperor Jones.All stage-hands or crew will be dressed up as fears and slaves, this is for the creative purposes and practical purposes, solving the problem of how the scenes will change rapidly without any time passes. The opening scene will be made up of a throne, high mighty and will be the only furniture which will not be compiled of slaves in chains of possibly nailed to things. Possible furniture items: the footrest, lighting (thanks serge), fans, painting hooks, tables.The forest will materialise on stage during transition of scenes via fears which would be hidden beneath black pillars. Possibly having fears rappel down or floating through the air on harnesses, changing the scene to a darker one more representative of night, the lights will dim. white material banners will descend aided by fears in between the columns and the only lighting save a spot on jones will be projected from behind the white material, casting giant shadows of fears running behind and around the columns. 1st idea for opening scene:Have a read of the two quotes I have put on the home page about image and space....BUt great journal...and remember as you said great design takes time!!
Romanticism:
Caspar David Friedrich- The wanderer above the mists (1817)
The aesthetic attributes of romanticism where firmly rooted in the concepts of emotion and nature, perpetuating that they are the source of 'true' aesthetic; also, linking humanity to ideas of beauty through that which forms emotion. Romanticism took the subject matter of existence, and tried to make it grand, passionate and, well.. almost romantic.
Time period: "Late 19th to the early-20th century". (1)
Developed primarily in France; the most prominent feature of impressionism was to accurately depict the transient or fluid nature of light and colour or, at least the artists impression. This was achieved through "short, broken brush-strokes that barely convey forms [and] pure un-blended colours" (2). impressionists also used colour to depict shadows and darkness, leading to brightness and colour being the most prominent aesthetic feature.
Time period: Early 20th century The conceptual basis of expressionism is firmly rooted in the idea of self expression (big surprise). The subjective and the individuals experience dominated the subject matter; anxiety, angst and guilt where prominent themes of said experience. Brush strokes, colour and design are used representational to depict emotion or expressions of the self.
Time period: (approx) 1960- Current
Features: Serves to question the nature of art, encouraging the viewer to think rather than feel. Process, form and content being unified can be seen as a 'pure' sense of conceptual art, such as an interactive installation erected in public. Aesthetically speaking, the 'idea' behind the art was the most important aspect, so usual aesthetic conventions are often discarded.
Features: Aesthetics wise the method is concerned with splotches, splashes, spots and stains described as 'spontaneous' and 'fluid' (formed in an anti-geometric manor) . The subject matter is linked with that of expressionism (specifically abstract), wherein the artist is expressing some form of emotion. Formed as a reaction to abstractionism using similar concepts, but contradicting style.
Because of the loose definition, Primitivism could be said to begin in the late nineteenth century to present day.
Content: Primitivism was art which was said to be influenced by 'primitive' art (such as Aboriginal Australians, African tribes, Etc). It is my understanding that this can apply aesthetically (such as in Goncharova's work) or thematically (such as in Gaugin's work). Formed as a reaction to more analytical art movements, primitivism was primarily praised for its simplistic approach to art (such as the emotional clarity held by civilisations which haven't got the anxiety of modern life etc.).
Era: Mid 1950's to late 1970's
Features: A rejection of the bourgeois classical/fine art, and highly subversive, Pop Art marked the development of Art as a commodity. More artists were employed in the commercial market than galleries, Pop art set about equalling their value in the eyes of the traditional Art community. Aesthetically speaking, bright colour, cartoon or recognisable imagery/ 'logo' style pieces were highly prevalent.
Content: Formed under a rejection of coherence and modernity. Focused on questioning the nature of humanity, instead of attempting to define it. Aesthetically, the 'norms' of classical art are rejected, including form, style and the medium. Another artistic movement more concerned with the idea of the art than the aesthetic appeal.
Defined: Modernism is a broad category which many art movements fall under. Categorically, modernism art tried to break away from the preconceived notions of art. Modernism could be seen as an active reflection on the many changes our civilisation has made, and the issues they cause. Aesthetically, Modernism is intensely varied, using multiple mediums forms and styles.
Dada was a rebellion of Art, with each Dada 'artist' rejecting the notions of Art and Artistry to the point of rebellion (or anti-art).By breaking all the rules of Art, and forming 'meaningless' pieces, Dada rebelled against what they perceived to be the core of civilisation (Coherence, rationality, capitalism, nationalism and war- all things which they believed Art helped form or grow).
Aesthetically: the more arbitrary/offensive/aggressive, the better.
Surrealism was developed alongside psychological advancements (courtesy of Freud). The artists tried to encapsulate the subconscious mind, by using recognisable imagery in incoherent dream-like ways. They believed this to be the true source of creativity as the conscious mind was trapped by rationality.
Amongst formalism pieces, aestheticism is held in primary esteem. Aesthetically speaking, geometric conventions, careful usage of balanced colour (which is deemed aesthetically pleasing) and significant process in form (cohesive balance) are all indicative of formalism.
Era: 1848-1880
Art from the realism movement portrayed authentic representations of realistic subject matter. Realism could be seen as an analytical approach to the paradigm of duality in real life, used to subvert the failings of humanity and to show that the world can still be grand/beautiful without having misconceived, overly dramatic notions (in opposition to romanticism).
Era: 1810 to early 1930's + (approx)
Cubism could be said to be one of the first forms of abstract Art, using abstract perspectives and composition to alter the representation of images. This forms multiple perspectives of a single image, and was the first movement of its time to do so. In addition to the usage of perspective, the cubist paintings aesthetics were firmly embedded in geometric forms of multiple dimension.
Obtained from: http://www.abstractart.20m.com/cubism.htm http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm http://en.wikipedia.org/wiki/Cubism
On: 12/4/13
Was developed primarily as an aesthetic style, containing "wild brush work and strident colours" (wiki). Fauvism could be seen as a combination of styles, developed from primitivism, expressionism and impressionism. Seen as experimental and wild, highly symbolic colour and wild emotion were later left for the more rational cubism.
Era: 1940-late 1950's (approx).
Combining elements from many art movements, abstract expressionism was highly influenced by surrealism and expressionism. The artists attempted to project their subconscious onto works of art through the usage of symbols, colours and other highly abstract notions. Aesthetically, the imagery was both geometric and fluid, in an attempt to represent the creators subconscious, in which ever way they saw fit (colour, style and medium would also be included in this category).
Obtained from: http://en.wikipedia.org/wiki/Abstract_expressionism http://www.metmuseum.org/toah/works-of-art/1994.399
On the 12/4/13
Era: Now.
As it stands, the content in Altermodernism tries to encapsulate the ideas of ultra-modern living. Notions of time and space, interconnectivity (or constant communication and globalisation) modern anxiety and more all feature prominently; It is in this sense a contemporary art for a contemporary life. Aesthetically, digital graphics, graffiti, photography and basically any other medium you can imagine only springing up in the past 110 years is used.
DONE! : HD...This is excellent work...very well researched...read like you enjoyed writing it...?
Dramaturgy data!
First thoughts!
The play was too old, and to do anything too absurd is to rely too heavily on the text.
Text was quite dark, something that could be updated and shaped into an organic, thrilling or even disturbing piece of theatre.
Play had some racial tendencies.
Was thinking of making Smithers a part of the emperor Jones's throne room or castle like this ...
This design would have used wood and metal to symbolise the forces of man and nature, would use the spin that the fears and the people trying to kill him, are embodied in the Forrest. Gaining the scope of the structure at the end, but looking much more like the tree city, and the tree city would have a face much like the Ents From The Lord of The Rings (Jackson, 2001-3).I liked the idea that Jones had encased himself in a fortress of nature, with the fortress in mind for being alive and playing the role of Smithers I also quite liked, but its all rather cinematic.
Costuming:
My [[#|next]] idea was meant to encapsulate, allude or envelop the design with pop culture references and Tarantino style pastiche. I believed that this would grant my design the contemporary edge it would need to get past the dated narrative. I decided against this in the end because I felt like (whilst the idea is very do-able) the text would deserve a rewrite to really take full advantage of the concept, making a history between Smithers, Jones and Jones's past.
The Reservoir Dogs, costuming and attitude of the 'chain gang'. In the re write, the chain gang could be more representative of Jones fleeing a life of crime and corruption, hence the dogs.
The ideal costuming for Jones, both military, informal and intimidating all at the same time. This idea stuck with me, because I, in the end decided that to not reference the similarities between Bill and Jones would just be silly, they ideally work on the same principles, in which Bill acts as he was 'made' and Jones acts as he is 'made' but have the intelligence to realise he is both created, and manipulated to be a certain way . The costume works affectively in that it uses the idea of pastiche to casually reference or grant an homage to Bill. For those who know him, they will automatically tie identifying features between the two characters, something which can work very well towards characterisation.
I was torn between using this type of costuming for Smithers and for Jeff. I think it would work either way, but from a stylistic perspective could be used for Jeff, with a re write for Smithers. Its a little too obvious for smithers, in the way that we can automatically tie the two characters together into their roles for the narrative (Protagonist/Antagonist). Hence if a re write was made, Smithers could be cast in this kind of costuming, if the appropriate foreshadowing was completed.
However after speaking with you, Serge I realise now the portfolio is more conceptual than anything so lets qualify those two ideas as one image (as that is how I imagine them).
The following will be a set of images which inspired or assisted in the forming of my design.
EXTRAORDINARY WORK - clearly sets out the design concept....HD There is a rigorous analytical mind at work...well done
The following will be a discussion of Design, specifically theatre design. I have previous experience on the theatre but not so much creating the theatre, or presenting the theatre. My previous experiences with theatre (and almost anything artistic I have ever done, theoretical or practical - but ill get to that later) has however, led me to be aware of some of the concepts which surge went over in our lecture. That is not to say it wasn't extremely informative in many other regards. One such concept was design which is AFFECTIVE; I previously have a fair bit of experience with EFFECTIVE design and in-effective design. Now please, anyone, correct me if they believe me to be wrong, but my understanding of affective theatre,is that it is of an individual existence to the action on the theatre; it can be used for different and numerable things, whilst still being connected to a [[#|play]]. Even more important is to remember is that as human beings we have the right to ascribe emotion or apathy to things we do and do not like, using absurd theatre design could inspire meaning in some, but to some it will have no meaning, we would also have to regard its actions as meaningless if it was a part of the design.. it has a parallel existence along side the action...and can [[#|travel]] with it without breaking into it or destroying the action...bit like people improvising with music it has meaning...in fact it is full of meaning...but outside our normal sense of logic (generally) without the [[#|play]]; but that it can interact with an audience prior to the play beginning, and still speak in volumes. Affective set design can be representational or expressionistic or down right absurd, and yet it can still hold meaning (even if it is to have no meaning by our own opinions of the piece). .
Now the formation of affective design will always inspire notions of artistic merit in someone, if done appropriately. And I was thinking about Serge's 'plaugerising' spiel, and a quote my friend and I were discussing from Michel Foucault.
“The imaginary is not formed in opposition to reality as its denial or compensation; it grows among signs, from book to book, in the interstice of repetitions and commentaries; it is born and takes shape in the interval between books. It is the phenomena of [[#|the library]].”
― Michel Foucault Excellent...it's part of a vast ancestral reservoir from which we can all draw creativity...
Aesthetics, Method, and Epistemology (1998) Michel Foucault
Essentially, this is the old school, originality is dead argument, regarding the creativity of human beings as limited as their experiences (simulated or otherwise). We can even relate the two biggest character archetypes of modern times (the detective, the cowboy) to be based on the stories of hero's which fought 1 against the odds. Such occasions are easy to recollect from non fictional events.
I feel I may be drifting off topic however, more to the point, Serge mentioned that good design takes a long time to form, as the best design has effort and creative forms which only truly crystallise over time. Great observation!! If we relate this to the ideas of Foucault, we would then see that these formations of 'art' will transform and evolve in the time the process takes, by using concepts and ideas from our experiences, and using those concepts to reflect upon the play, forming metaphors, symbols and what not. These formations are then understood by the audience members based on their experiences, and messages can transform, move or of course fall flat of their intended meanings. Long story short: it would seem we all plaugerise, constantly and subconsciously. Not from everything life throws at us, but education, culture and everything in between.
Anyway, I hope i don't fail now, I fear if I am correct, I may have broken the university. This train of thought came crashing along when Serge ( or so I believe) was quoted to say something like original design takes a long time to make, we can still make some great design, and sure it may take a while, but damned if its completely original, nor are we solely capable of forming an original design without understanding design as a whole, and how it reaches its intended audience, and most of all; how we know it will reach our audience and what it will do.
A new modernity is emerging - reconfigured to an age of globalisation: an altermodern culture
Increased communication, travel and migration are affecting the way we live
Our daily lives consist of journeys in a chaotic and teeming universe
Multiculturalism and identity are being overtaken by creolisation: Artists are now starting from a globalised state of culture. [A creole language, or simply a creole, is a stable language that originated from a mixture of various languages.]
This new universalism is based on translations, subtitling and dubbing
Today's art explores the bonds that text and image, time and space, weave between themselves
Artists are responding to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expression and communication ...semionaughts!!!
Ideas liberated from the ALTERMODERN MANIFESTO - Nicholas Bourriaud
Week 1 Part 2.
It seems I should most definitely reflect on a previous statement of mine. One in which I made claim that absurd design carries meaning because it does not carry meaning. However it is difficult to imagine anything not carrying meaning, I believe that absurdist theatre and likewise the theatre of cruelty interact with the world under the guise of meaningless. Now that is to say that to someone who lived in a cave, on an island, in isolation and without any form of communication, language or civilisation (or if you like, in Plato's cave) could be set in Plato's cave would most likely glance meaninglessness off quite simply as just such a phenomenon. However, Language, civilisation, the communications and experiences which follow are (debatable) the major facets which form the way our perceptions manage our experience. Now both the idea of absurdity ( a common facet of both the theatre of cruelty and the theatre of the absurd) and the idea of absurd design poses an interesting contradiction. If we are to entertain the idea of absurdity to be meaninglessness then our practice of observing or even worshipping the ideas maintained seems well.. absurd. Artonin Artaud once wrote that "As far as I was concerned, the problem was not to find out what might manage to worm its way into the scriptures of the written language, but into the web of my living soul". Being quite a prominent figure in the development of the theatre of cruelty, it is likely for us to accurately perceive his opinions of his work, to vastly categorise an important facet of this discussion ( later to be maintained by Mr Derrida) Artaud speaks of how the work he is forming is a representation of his soul, something quite intangible and relatively difficult to perceive/conceive. If we see the major defining factors which formed Mr Artaud's soul reflected in viewers of his works, there is essentially something which is seemingly meaningless to one which has not shared facets of their journey with the author of the 'absurd' piece. But for those which share or shared similar experiences with the create of a piece, something quite amazing and unique to humans occurs, they find meaning. The audience creates beauty, becomes sad, experiences what the artist intends them to experience. It is in this manor our affective theatre must be formed, in a way which will interact with the audience in ways which we imagine they will understand the design. It is here those which are perceptive and knowledgeable will flourish and the ignorant or isolated will fail. It is the condition of being a part of a community with shared experiences, it is the 'library' we all share as being humans which feel enables us access to.
It is the looming Black, The peaceful cloud blue, it is the abrupt, passionate, violent red.
-- Derrida's deconstruction goes here---
Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty
Helga Finter and Matthew GriffinTDR (1988-)Vol. 41, No. 4 (Winter, 1997), pp. 15-40
Published by : the MIT press
A brief splurge on my creative intent for the emperor Jones.All stage-hands or crew will be dressed up as fears and slaves, this is for the creative purposes and practical purposes, solving the problem of how the scenes will change rapidly without any time passes. The opening scene will be made up of a throne, high mighty and will be the only furniture which will not be compiled of slaves in chains of possibly nailed to things. Possible furniture items: the footrest, lighting (thanks serge), fans, painting hooks, tables.The forest will materialise on stage during transition of scenes via fears which would be hidden beneath black pillars. Possibly having fears rappel down or floating through the air on harnesses, changing the scene to a darker one more representative of night, the lights will dim. white material banners will descend aided by fears in between the columns and the only lighting save a spot on jones will be projected from behind the white material, casting giant shadows of fears running behind and around the columns.
1st idea for opening scene:Have a read of the two quotes I have put on the home page about image and space....BUt great journal...and remember as you said great design takes time!!
Romanticism:
Caspar David Friedrich- The wanderer above the mists (1817)
Obtained from :http://www.caspardavidfriedrich.org/The-Wanderer-above-the-Mists-1817-18.html on 20/03/2013
La Baronne de Crussol, 1785
Obtained on the 11/4/13
Obtained from:
http://www.1st-art-gallery.com/Elisabeth-Vigee-Lebrun/La-Baronne-De-Crussol,-1785.html
Girodet Ossian- Ossian Receiving the Ghosts of Fallen French Heroes (1805)
Obtained from :http://www.latribunedelart.com/IMG/jpg/Girodet_Ossian.jpg
On the 20/03/2013
Subject: Romanticism
Time period: "late 18th to the mid-19th century".
The aesthetic attributes of romanticism where firmly rooted in the concepts of emotion and nature, perpetuating that they are the source of 'true' aesthetic; also, linking humanity to ideas of beauty through that which forms emotion. Romanticism took the subject matter of existence, and tried to make it grand, passionate and, well.. almost romantic.
(http://www.britannica.com/EBchecked/topic/508675/Romanticism)
On the 20/3/13
Impressionism
Georges-Pierre Seurat-
A Sunday Afternoon on the Island of La Grande Jatte – 1884
Obtained from: http://classconnection.s3.amazonaws.com/240/flashcards/457240/jpg/sunday_afternoonseurat1333662306669.jpg
On: 22/03/13
Claude Monet-
Impression: soleil levant (1872-3)obtained from:
http://www.google.com.au/imgres?imgurl=http:www.ibiblio.org/wm/paint/auth/monet/first/impression/impression.jpg&imgrefurl=http://www.ibiblio.org/wm/paint/glo/impressionism/&h=476&w=631&sz=45&tbnid=GIlSZX5KAHo13M:&tbnh=90&tbnw=119&zoom=1&usg=_VvYsh5km8KiS6H7gm9aOdUTFoo=&docid=TYIYG9oFdAL6nM&sa=X&ei=2OJJUe7gJcLriAeCxoCgBQ&ved=0CEMQ9QEwAg&dur=629
On: 22/03/13
Berthe Morisot-
The cradle (1872)obtained from:
http://en.wikipedia.org/wiki/File:Berthe_Morisot,_Le_berceau_(The_Cradle),_1872.jpg
On: 22/03/13
Subject: Impressionism
Time period: "Late 19th to the early-20th century". (1)
Developed primarily in France; the most prominent feature of impressionism was to accurately depict the transient or fluid nature of light and colour or, at least the artists impression. This was achieved through "short, broken brush-strokes that barely convey forms [and] pure un-blended colours" (2). impressionists also used colour to depict shadows and darkness, leading to brightness and colour being the most prominent aesthetic feature.
Obtained from: http://www.ibiblio.org/wm/paint/glo/impressionism/ (1)
Obtained from: http://www.metmuseum.org/toah/hd/imml/hd_imml.htm (2)
Obtained on: 22/03/2013.
Expressionism
Edvard Munch- The scream (1893)
Obtained from :http://upload.wikimedia.org/wikipedia/en/thumb/f/f4/The_Scream.jpg/220px-The_Scream.jpg
On : 22/03/2013
Egon Schiele- Steel heads (1990)
Obtained from:
http://www.alfarrow.com/egon-schiele.html
On: 22/03/2013
Kathe Kollwitz- Self portrait (1934)
Obtained from:http://mhsartgallerymac.wikispaces.com/file/view/kathe-kollwitz-self-portrait.jpg/253352406/kathe-kollwitz-self-portrait.jpg
On: 22/03/2013
Expressionism.
Time period: Early 20th centuryThe conceptual basis of expressionism is firmly rooted in the idea of self expression (big surprise). The subjective and the individuals experience dominated the subject matter; anxiety, angst and guilt where prominent themes of said experience. Brush strokes, colour and design are used representational to depict emotion or expressions of the self.
Obtained from :
http://www.artyfactory.com/art_appreciation/art_movements/expressionism.htm (1)
http://en.wikipedia.org/wiki/Expressionism
http://www.ibiblio.org/wm/paint/tl/20th/expressionism.html
On the: 24/03/13
Abstract art:
Obtained from : click me
Obtained on : 26/03/2013
Wassily Kandinsky-
Komposition VIII, (1923)Barbara Hepworth-
Family of Man (1970)Obtained from:http://en.wikipedia.org/wiki/File:Hepworth_FamilyOfMan_1970.jpg
On the 11/4/13
Anthony Caro- Model for Pool House (1988)
Obtained from:
http://www.anthonycaro.org/Large-Pics/1859.jpg
On the: 26/03/2013
Abstract art:
Era: (aprox) 1839-1918+ (1)
Features: The subject matter is not of a 'worldly' nature depicting neither human nor nature; rather they are compiled of symbols and colours which are neither objective nor representational (such as lines, colours, symbols, and mathematics formulas). Aesthetically speaking, abstract art was highly geometric or fluid in nature.
Obtained from:
http://www.museum.state.il.us/ismdepts/art/Abstract/htmls/timeline.html(1)
http://www.wisegeek.com/what-is-aesthetic-value.htm
http://painting.about.com/od/abstractart/a/abstract_art.htm
On the: 24/03/13
Conceptual Art
Melanie Pullen- High fashion crime scenes
Obtained from:http://dailyserving.com/wp-content/uploads/art/Melanie-Pullen-02-12-07.jpg On : 26/03/2013
Michael Asher- (1986) Les deux plateux
Obtained from:http://whitecubeeffect.files.wordpress.com/2012/03/palais_royal_et_colonnes_de_buren.jpg
On : |26/3/2013
=
Graham Goddard- Paradigm, (2009)
Obtained from:http://www.thecampbellspr.com/eblast/Goddard.jpg
On the: 26/03/2013
Conceptual Art
Time period: (approx) 1960- CurrentFeatures: Serves to question the nature of art, encouraging the viewer to think rather than feel. Process, form and content being unified can be seen as a 'pure' sense of conceptual art, such as an interactive installation erected in public. Aesthetically speaking, the 'idea' behind the art was the most important aspect, so usual aesthetic conventions are often discarded.
Obtained from:
http://www.metmuseum.org/toah/hd/cncp/hd_cncp.htm
http://www.arthistory.net/artstyles/conceptualart/conceptualart1.html
http://www.thirteen.org/edonline/lessons/conceptual/b.html (was also very helpful for general reading)
On the: 24/03/13
Tachisme
Romanul Nutiu Relay (2011)Obtained from:
http://www.wikipaintings.org/en/romul-nutiu/relay-ease-2011
On the 25/03/13
Composition grise et rouge
, (1964)
Obtained from:
http://upload.wikimedia.org/wikipedia/en/thumb/2/29/Serge_Poliakoff_Composition_grise_et_rouge_1964.jpg/220px-Serge_Poliakoff_Composition_grise_et_rouge_1964.jpg On the : 26/03/13
Pierre Alechinsky- Les hautes herbes (1951)
http://www.exporevue.com/artistes/fr/alechinsky/alechinsky2.jpg Obtained on : 26/03/2013Taschime
Time period: (approx) late 1940's to early 1960'sFeatures: Aesthetics wise the method is concerned with splotches, splashes, spots and stains described as 'spontaneous' and 'fluid' (formed in an anti-geometric manor) . The subject matter is linked with that of expressionism (specifically abstract), wherein the artist is expressing some form of emotion. Formed as a reaction to abstractionism using similar concepts, but contradicting style.
Obtained from:
http://en.wikipedia.org/wiki/Tachisme
http://www.visual-arts-cork.com/history-of-art/tachisme.htm
On the: 24/03/13
Primitivism
Paul Gauguin- The spirit of the dead keep watch (1892)
Obtained from:http://en.wikipedia.org/wiki/File:Paul_Gauguin-_Manao_tupapau_(The_Spirit_of_the_Dead_Keep_Watch).JPG
On the: 24/03/13
Henri Rousseau Combat of a tiger and a buffalo (1909)
Obtained from:
http://en.wikipedia.org/wiki/File:Henri_Rousseau_-_Combat_of_a_Tiger_and_a_Buffalo.jpg
On the: 24/03/13
Natalia Goncharova-
Women with rakes (1907)Obtained from:
http://en.wikipedia.org/wiki/Natalia_Goncharova
(considered cubist, but obtained inspiration from Russian folk art)
On the: 24/03/13
Primitivism:
Because of the loose definition, Primitivism could be said to begin in the late nineteenth century to present day.Content: Primitivism was art which was said to be influenced by 'primitive' art (such as Aboriginal Australians, African tribes, Etc). It is my understanding that this can apply aesthetically (such as in Goncharova's work) or thematically (such as in Gaugin's work). Formed as a reaction to more analytical art movements, primitivism was primarily praised for its simplistic approach to art (such as the emotional clarity held by civilisations which haven't got the anxiety of modern life etc.).
obtained from:
http://encyclopedia2.thefreedictionary.com/Primitivism+(art+movement)
http://www.visual-arts-cork.com/history-of-art/primitivism.htm
On the: 24/03/13
Pop Art! (yay)
Andy Warhol-
Campbell's Soup Can (Tomato) (1962)Obtained from: http://www.jssgallery.org/Other_Artists/Andy_Warhol/campbells.jpg
On the: 26/03/2013
Roy Lichtenstein- Ohh alright (1964)
Obtained from:http://media.npr.org/assets/img/2012/10/12/3287-129_custom-ff79df6489c058ed10a81c8405e15da71b963457-s6-c10.jpg On the: 26/03/13
Martha Rosler-
Vacuuming Pop Art, 1967–72,
Obtained from :
http://www.artnews.com/2010/11/01/where-are-the-great-women-pop-artists/On the: 26/03/13
Pop Art.
Era: Mid 1950's to late 1970's
Features: A rejection of the bourgeois classical/fine art, and highly subversive, Pop Art marked the development of Art as a commodity. More artists were employed in the commercial market than galleries, Pop art set about equalling their value in the eyes of the traditional Art community. Aesthetically speaking, bright colour, cartoon or recognisable imagery/ 'logo' style pieces were highly prevalent.
http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm
http://en.wikipedia.org/wiki/Pop_art
26/03/2013.
Post Modernism
Emma Amos- X Flag (1992)
Obtained on:http://3.bp.blogspot.com/_MuWNJtJ8XS4/SQ8f8VV8bqI/AAAAAAAAC14/zsq4tF-eaKk/s400/Amos.XFlag.big.93.jpg
On the: 26/03/13
Banksy
Obtained from:http://jerzygirl45.files.wordpress.com/2011/05/banksy-11.jpg On the 26/03/2013.
Anthony James KO (2008)
Obtained from:http://www.ridelust.com/wp-content/uploads/Anthony_James_01.jpg
On the: 26/03/13
Post-Modernism
Era: 1945- Present
Content: Formed under a rejection of coherence and modernity. Focused on questioning the nature of humanity, instead of attempting to define it. Aesthetically, the 'norms' of classical art are rejected, including form, style and the medium. Another artistic movement more concerned with the idea of the art than the aesthetic appeal.
http://www.jameslourie.com/modern-art-timeline/
http://www.onpostmodernism.com/art/default.aspx
http://www.artsconnected.org/collection/142161/modern-and-postmodern-art?print=true
Obtained on the 7/4/13
Modernism
John Marin-
The Red Sun-Brooklyn Bridge (detail), 1922Obtained from:
http://www.google.com.au/imgres?imgurl=http://www.artsjournal.com/aboutlastnight/Marin_lg.jpg&imgrefurl=http://www.artsjournal.com/aboutlastnight/2011/08/tt_whatever_happened_to_john_m.html&h=306&w=375&sz=60&tbnid=_YMLT4MJfoEKRM:&tbnh=90&tbnw=110&zoom=1&usg=__r6Qz3Mg8PQKOqztPms6DomoZ31E=&docid=QOLjeliDBN3-xM&sa=X&ei=SPRjUYzQKqe0iQf5t4GYBA&ved=0CI4BEP4dMA4
On: 10/4/13
http://www.askart.com/AskART/interest/Modernism_1.aspx?id=22
On: 10/4/13
Georgia O'Keeffe-
Rams head 1935Obtained from:
http://en.wikipedia.org/wiki/File:O%27Keeffe_Georgia_Ram%27s_Head.jpg
On: 10/4/13
Modernism:
Era: 1860's through to the 1970's (approx)Defined: Modernism is a broad category which many art movements fall under. Categorically, modernism art tried to break away from the preconceived notions of art. Modernism could be seen as an active reflection on the many changes our civilisation has made, and the issues they cause. Aesthetically, Modernism is intensely varied, using multiple mediums forms and styles.
Obtained from:
http://www.askart.com/AskART/interest/Modernism_1.aspx?id=22
http://en.wikipedia.org/wiki/Modernism
http://www.britannica.com/EBchecked/topic/387266/Modernism
On: 10/4/13
Dada (ism)
George Grosz-
Republican Automatons, 1920Obtained from:
http://www.google.com.au/imgres?imgurl=http://upload.wikimedia.org/wikipedia/en/thumb/3/38/Republican_Automatons_George_Grosz_1920.jpg/240px-Republican_Automatons_George_Grosz_1920.jpg&imgrefurl=http://en.wikipedia.org/wiki/George_Grosz&h=313&w=240&sz=25&tbnid=U0erTFUzIpOOqM:&tbnh=95&tbnw=73&zoom=1&usg=__MS9Bp0M_exrh0boaq4Gu3w7aAyc=&docid=fiqw3i1suG1a9M&sa=X&ei=FfljUaXIHMetiAfWvoDADQ&ved=0CIgBEP4dMAs
On: 10/4/13
Fountain, (1917)
Obtained from:
https://www.google.com.au/search?q=marcel+duchamp&aq=0&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=2vljUfLlDemviQecrYCwBA&biw=1241&bih=545&sei=3PljUdDyGIiyiQeVi4H4AQ#imgrc=5ODf6qxBFqWA7M%3A%3BYYoS9VYi5_rDpM%3Bhttp%253A%252F%252Fwww.invisiblebooks.com%252Ffountain.jpg%3Bhttp%253A%252F%252Fwww.invisiblebooks.com%252FDuchamp.htm%3B1074%3B1269
On: 11/4/13
Hannah Hoch-
Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany
, 1919
Obtained from:
http://venetianred.net/2010/01/16/hannah-hoch-the-good-girl-with-big-scissors-part-i/ On the 11/4/13.
DaDa (ism)
Era: 1915-1924 (approx)
Dada was a rebellion of Art, with each Dada 'artist' rejecting the notions of Art and Artistry to the point of rebellion (or anti-art).By breaking all the rules of Art, and forming 'meaningless' pieces, Dada rebelled against what they perceived to be the core of civilisation (Coherence, rationality, capitalism, nationalism and war- all things which they believed Art helped form or grow).
Aesthetically: the more arbitrary/offensive/aggressive, the better.
Obtained from:
http://arthistory.about.com/cs/arthistory10one/a/dada.htm
http://en.wikipedia.org/wiki/Dada
http://www.arthistoryarchive.com/arthistory/dada/arthistory_dada.html
On: 11/4/13
Surrealism
Les Montres Molles, 1968.
Obtained from:
http://appletoncity.k12.mo.us/smweb/studentweb/Salvador%20Dali.html
On: 11/4/13
Kay Sage
'Le Passage' (1956)
Obtained from:
http://3.bp.blogspot.com/-eT3loLks1Lg/T5c9Gsx6XXI/AAAAAAABCGo/_XaBazG9TR8/s1600/KAY+SAGE+(1).jpg
On: 11/4/13
=
Max Ernst- Ocell de foc
Obtained from:
http://jimmytrinketland.blogspot.com.au/2012/05/interpret-artwork-through-analysis-of.html
On: 11/4/13
Surrealism:
Era:1919-1939 (approx)
Surrealism was developed alongside psychological advancements (courtesy of Freud). The artists tried to encapsulate the subconscious mind, by using recognisable imagery in incoherent dream-like ways. They believed this to be the true source of creativity as the conscious mind was trapped by rationality.
Obtained from:
http://www.theartstory.org/movement-surrealism.htm
http://arthistory.about.com/od/modernarthistory/a/Surrealism-Art-History-101-Basics.htm
http://en.wikipedia.org/wiki/Category:Surrealist_artists
On the : 11/4/13.
Formalism:
Broadway Boogie Woogie
(1942-43)
Obtained from:
http://www.ibiblio.org/wm/paint/auth/mondrian/
On: 11/4/13
Mark Grotjahn -
Untitled , (2009)
Obtained from:
http://www.google.com.au/imgres?imgurl=http://www.blumandpoe.com/sites/default/files/works/01_16.jpg&imgrefurl=http://www.blumandpoe.com/artists/mark-grotjahn&h=792&w=612&sz=126&tbnid=tZ0CbSP0QkvXTM:&tbnh=90&tbnw=70&zoom=1&usg=__O1L6nY8bPj7BdRO-6zrzq_cjHRg=&docid=XctxXoVcJ7GPeM&sa=X&ei=nVVmUa3zBYaZiAfhmoDoAQ&ved=0CEIQ9QEwAg&dur=415
On: 11/4/13
Jessica Langston
Obtained from:
http://panthers.k12.ar.us/high_school/departments/art/art_web_pages/portfolios/2006/Jessica_Langston.htm
Formalism:
Amongst formalism pieces, aestheticism is held in primary esteem. Aesthetically speaking, geometric conventions, careful usage of balanced colour (which is deemed aesthetically pleasing) and significant process in form (cohesive balance) are all indicative of formalism.
Obtained from:
http://en.wikipedia.org/wiki/Formalism_(art)
http://www.theartstory.org/definition-formalism.htm
on:11/4/13
Realism:
Gustave Courbet:
A Burial at Ornans (1849-50)Obtained from:
http://www.ibiblio.org/wm/paint/auth/courbet/
On: 11/04/13
Rosa Bonheur
The Horse Fair (1853-5)Obtained from:
http://www.earlywomenmasters.net/women_at_the_easel/slides/1857_rosa_bonheur.html
On:11/4/13
Jean-Francois Millet
The Gleaners (1857)Obtained from:
http://www.ibiblio.org/wm/paint/auth/courbet/
on: 11/04/13
Realism:
Era: 1848-1880
Art from the realism movement portrayed authentic representations of realistic subject matter. Realism could be seen as an analytical approach to the paradigm of duality in real life, used to subvert the failings of humanity and to show that the world can still be grand/beautiful without having misconceived, overly dramatic notions (in opposition to romanticism).
Obtained from:
http://www.ibiblio.org/wm/paint/auth/courbet/
http://www.starrabbott.com/article-realism-paintings.htm
Cubism:
Paul Cézanne:
Quarry Bibémus, (1898)Obtained from:
http://en.wikipedia.org/wiki/File:Paul_C%C3%A9zanne_163.jpg
On : 11/4/13
Obtained from:
http://en.wikipedia.org/wiki/Jean_Metzinger
On: 11/4/13
Marie Bronislava Vorobieff-Stebelska
Homage to Friends from Montparnasse (1962)
Obtained from:http://www.wikipaintings.org/en/marevna-marie-vorobieff/homage-to-friends-from-montparnasse-1962
On: 11/4/13
Cubism:
Era: 1810 to early 1930's + (approx)
Cubism could be said to be one of the first forms of abstract Art, using abstract perspectives and composition to alter the representation of images. This forms multiple perspectives of a single image, and was the first movement of its time to do so. In addition to the usage of perspective, the cubist paintings aesthetics were firmly embedded in geometric forms of multiple dimension.
Obtained from:
http://www.abstractart.20m.com/cubism.htm
http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
http://en.wikipedia.org/wiki/Cubism
On: 12/4/13
Fauvism:
André Derain
Self portrait (1903)Obtained from:
http://en.wikipedia.org/wiki/Andr%C3%A9_Derain
On: 12/4/13
Alice Bailly
Self portrait (1917)obtained from:
http://en.wikipedia.org/wiki/Alice_Bailly
On the : 12/4/13
Henri Maguin
Above the Oustalet: View over Grimand (1920)Obtained from:
http://en.wikipedia.org/wiki/File:Henri_Maguin1.jpeg On 12/4/13
Fauvism:
Era:1898- 1909 (approx).Was developed primarily as an aesthetic style, containing "wild brush work and strident colours" (wiki). Fauvism could be seen as a combination of styles, developed from primitivism, expressionism and impressionism. Seen as experimental and wild, highly symbolic colour and wild emotion were later left for the more rational cubism.
Obtained from:
http://en.wikipedia.org/wiki/Fauvism
http://www.allbuyart.com/art-movement-fauvism.asp
http://www.artyfactory.com/art_appreciation/art_movements/fauvism.htm
Abstract Expressionism:
Franz Kline
Painting Number 2 (1954)Obtained from:
http://en.wikipedia.org/wiki/File:Kline_no2.jpg On : 12/4/13
Helen Frankenthaler
Mountains and Sea (1952)
Obtained from:
http://en.wikipedia.org/wiki/Helen_Frankenthaler
On the: 12/4/13
David Smith
DS 1958, (1958)Obtained from:
http://www.metmuseum.org/toah/works-of-art/1994.399
On: 12/4/13
Era: 1940-late 1950's (approx).
Combining elements from many art movements, abstract expressionism was highly influenced by surrealism and expressionism. The artists attempted to project their subconscious onto works of art through the usage of symbols, colours and other highly abstract notions. Aesthetically, the imagery was both geometric and fluid, in an attempt to represent the creators subconscious, in which ever way they saw fit (colour, style and medium would also be included in this category).
Obtained from:
http://en.wikipedia.org/wiki/Abstract_expressionism
http://www.metmuseum.org/toah/works-of-art/1994.399
On the 12/4/13
Altermodernism
Franz Ackermann
Mental Map: Evasion V (1996)Obtained from:
http://www.guardian.co.uk/artanddesign/2009/feb/08/altermodern-tate-britain-triennial-2009
On the : 12/4/13
Zoe Leonard,
Arkwright Road (2012)
Obtained from:
http://x-traonline.org/issues/volume-15/number-2/on-starlight-and-celestial-darkness-human-vision-and-cosmic-revision-as-seen-in-the-recent-works-of-zoe-leonard-and-katie-paterson/On: 12/4/13
Walead Beshty
Obtained from:http://www.scoopweb.com/Walead_Beshty
On the: 12/4/13
Altermodernism:
Era: Now.As it stands, the content in Altermodernism tries to encapsulate the ideas of ultra-modern living. Notions of time and space, interconnectivity (or constant communication and globalisation)
modern anxiety and more all feature prominently; It is in this sense a contemporary art for a contemporary life. Aesthetically, digital graphics, graffiti, photography and basically any other medium you can imagine only springing up in the past 110 years is used.
Obtained from:
http://www.psfk.com/2009/02/the-death-of-postmodernism-and-emergence-of-altermodernism.html
http://en.wikipedia.org/wiki/Altermodern
http://www.guardian.co.uk/artanddesign/2009/feb/08/altermodern-tate-britain-triennial-2009
On: 12/4/13.
DONE! : D
DONE! : HD...This is excellent work...very well researched...read like you enjoyed writing it...?Dramaturgy data!
First thoughts!
The play was too old, and to do anything too absurd is to rely too heavily on the text.
Text was quite dark, something that could be updated and shaped into an organic, thrilling or even disturbing piece of theatre.
Play had some racial tendencies.
Was thinking of making Smithers a part of the emperor Jones's throne room or castle like this ...
Or even better yet, a giant tree ..
one which is constantly moving through the jungle ...
https://www.google.com.au/search?hl=en&site=imghp&tbm=isch&source=hp&biw=1241&bih=545&q=tree+thats+alive&oq=tree+thats+alive&gs_l=img.3...1267.5681.0.5941.16.12.0.4.0.0.237.1798.4j3j5.12.0...0.0...1ac.1.14.img.vh_spR3wi1c#hl=en&site=imghp&tbm=isch&sa=1&q=Tree+beard&oq=Tree+beard&gs_l=img.3..0i10l3j0i5i10j0i5j0i10i24l5.30877.33395.5.33652.10.10.0.0.0.0.263.1968.2j2j6.10.0...0.0...1c.1.14.img.UuF4f14hVe8&bav=on.2,or.r_qf.&bvm=bv.47008514,d.aGc&fp=6dbc2eb8f1b4599&biw=1241&bih=545&facrc=_&imgrc=GWR8KlmMFmQrpM%3A%3BG9X9gWARMVa2EM%3Bhttp%253A%252F%252Fblogs.nd.edu%252Foblation%252Ffiles%252F2012%252F12%252FTreebeard.jpeg%3Bhttp%253A%252F%252Fblogs.nd.edu%252Foblation%252F2013%252F01%252F08%252Finklings-of-a-new-evangelization-treebeard-and-the-language-of-reality%252F%3B250%3B200
https://www.google.com.au/search?hl=en&site=imghp&tbm=isch&source=hp&biw=1241&bih=545&q=tree+thats+alive&oq=tree+thats+alive&gs_l=img.3...1267.5681.0.5941.16.12.0.4.0.0.237.1798.4j3j5.12.0...0.0...1ac.1.14.img.vh_spR3wi1c#hl=en&site=imghp&tbm=isch&sa=1&q=+tree+city+&oq=+tree+city+&gs_l=img.3..0l6j0i5j0i5i10j0i5j0i24.5684.5684.3.6284.1.1.0.0.0.0.373.373.3-1.1.0...0.0...1c.1.14.img.8ffjzpvDIko&bav=on.2,or.r_qf.&bvm=bv.47008514,d.aGc&fp=6dbc2eb8f1b4599&biw=1241&bih=545&facrc=_&imgrc=2CGtO5NsU_u0jM%3A%3BmbraLyLiKqpK3M%3Bhttp%253A%252F%252Fwww.lookpictures.net%252Fphotos%252Fregistered_photos%252F367-tree-city-pictures.jpg%3Bhttp%253A%252F%252Fwww.lookpictures.net%252Fgallery%252F3D-Graphics%252F367%252FTree-City-Pictures%252F%3B1024%3B768
similar to
https://www.google.com.au/search?hl=en&site=imghp&tbm=isch&source=hp&biw=1241&bih=545&q=tree+thats+alive&oq=tree+thats+alive&gs_l=img.3...1267.5681.0.5941.16.12.0.4.0.0.237.1798.4j3j5.12.0...0.0...1ac.1.14.img.vh_spR3wi1c#hl=en&site=imghp&tbm=isch&sa=1&q=Howls+castle&oq=Howls+castle&gs_l=img.3..0i10l4j0i10i24l3.118907.122374.7.122590.16.15.1.0.0.0.338.2642.3j3j7j1.14.0...0.0...1c.1.14.img.pZasUBQf084&bav=on.2,or.r_qf.&bvm=bv.47008514,d.aGc&fp=6dbc2eb8f1b4599&biw=1241&bih=545&facrc=_&imgrc=91zkOh6U4YLtcM%3A%3BZ4o0TeadM5aHzM%3Bhttp%253A%252F%252Fstatic.zerochan.net%252FHowl's.Moving.Castle.full.33665.jpg%3Bhttp%253A%252F%252Fwww.zerochan.net%252F33665%3B1400%3B757
This design would have used wood and metal to symbolise the forces of man and nature, would use the spin that the fears and the people trying to kill him, are embodied in the Forrest. Gaining the scope of the structure at the end, but looking much more like the tree city, and the tree city would have a face much like the Ents From The Lord of The Rings (Jackson, 2001-3).I liked the idea that Jones had encased himself in a fortress of nature, with the fortress in mind for being alive and playing the role of Smithers I also quite liked, but its all rather cinematic.
Costuming:
My [[#|next]] idea was meant to encapsulate, allude or envelop the design with pop culture references and Tarantino style pastiche. I believed that this would grant my design the contemporary edge it would need to get past the dated narrative. I decided against this in the end because I felt like (whilst the idea is very do-able) the text would deserve a rewrite to really take full advantage of the concept, making a history between Smithers, Jones and Jones's past.
The Reservoir Dogs, costuming and attitude of the 'chain gang'. In the re write, the chain gang could be more representative of Jones fleeing a life of crime and corruption, hence the dogs.
The ideal costuming for Jones, both military, informal and intimidating all at the same time. This idea stuck with me, because I, in the end decided that to not reference the similarities between Bill and Jones would just be silly, they ideally work on the same principles, in which Bill acts as he was 'made' and Jones acts as he is 'made' but have the intelligence to realise he is both created, and manipulated to be a certain way . The costume works affectively in that it uses the idea of pastiche to casually reference or grant an homage to Bill. For those who know him, they will automatically tie identifying features between the two characters, something which can work very well towards characterisation.
I was torn between using this type of costuming for Smithers and for Jeff. I think it would work either way, but from a stylistic perspective could be used for Jeff, with a re write for Smithers. Its a little too obvious for smithers, in the way that we can automatically tie the two characters together into their roles for the narrative (Protagonist/Antagonist). Hence if a re write was made, Smithers could be cast in this kind of costuming, if the appropriate foreshadowing was completed.
However after speaking with you, Serge I realise now the portfolio is more conceptual than anything so lets qualify those two ideas as one image (as that is how I imagine them).
The following will be a set of images which inspired or assisted in the forming of my design.
EXTRAORDINARY WORK - clearly sets out the design concept....HD
There is a rigorous analytical mind at work...well done